Renée Van Halm has a long-standing interest in the history of painting and the production of hybrid objects that blur the space between painting, sculpture and architecture. She is keenly committed to the material processes of painting while at the same time expressing a strong skepticism for the traditional terms of its construction.
From Bruce Grenville’s catalogue essay for the exhibition weak thought held at the Vancouver Art Gallery , November 14, 1998 to January 31, 1999, curated by Grant Arnold and Bruce Grenville